The Lawrence Arms once again played host at the War on X-Mas. Dying Scene was in the house for both nights at Metro (a third show was added for December 5th at Cobra Lounge). The band was joined by good friends in fellow Chicago bands, Smoking Popes, Royal Dog, and Still Alive. American Steel, out […]
The Lawrence Arms once again played host at the War on X-Mas. Dying Scene was in the house for both nights at Metro (a third show was added for December 5th at Cobra Lounge). The band was joined by good friends in fellow Chicago bands, Smoking Popes, Royal Dog, and Still Alive. American Steel, out of Oakland, CA, also performed. It was a jolly good time!
Friday
Chicago’s The Lawrence Arms was founded a quarter of a century ago, but it remains as beloved as ever. The 10th Anniversary edition of the band’s annual holiday season event demonstrates it gets better each time. Brendan Kelly, Chris McCaughan, and Neil Hennessy were in top form as they ripped through an extensive set which included “You Are Here,” “Beautiful Things,” “Seventeener (17th and 37th),” “Metropole,” “The YMCA Down the Street From the Clinic,” “Chapter 13: The Hero Appears,” and “Like A Record Player.”
It was a terrific performance and surely filled fans in the jam-packed venue with much cheer.
Smoking Popes, another adored Chicago band, chose seasonally appropriate walk-on music for this event: the iconic “Linus and Lucy” instrumental by Vince Guaraldi Trio. The band members then kicked off their set, telling the crowd they did not want to “Simmer Down.” That’s good because things were just heating up. The blazing set further included “Let’s Hear It for Love,” “Rubella,” “Megan,” and “Gotta Know Right Now.” Smoking Popes also performed an enchanting rendition of “Pure Imagination.” Leslie Bricusse & Anthony Newley composed that wonderful confection specifically for the classic 1971 film Willy Wonka & The Chocolate Factory. In addition, Scott Lucas of Local H joined the Smoking Popes on stage for “Off My Mind.”
The Brothers Caterer – Josh, Eli, & Matt, along with their “brother from another mother,” Mike Felumlee, once again delivered. This pattern is pretty routine, but their performances never are.
Royal Dog, completing the Chicago trifecta for this evening, gave a high-spirited performance to get the festivities started. Royal Dog, composed of Anthony, Micki, Joey, and Castle, went from a solo project started in 2018 and transformed into a full band in 2023 year. However, the group is certainly leaving a terrific imprint on fan’s senses. This was demonstrated by its high energy set, which included “Pickle,” “Crabbed,” “Worried, Sick,” and “The Deal.”
If you have yet to check the band out, I advise you to do so at your first opportunity. You can thank us later.
The Lawrence Arms‘ Saturday night set was also decidedly non-Grinchy as far as length. It was also rollicking as the band tore through “The Devil’s Takin’ Names,” “Light Breathing (Me and Martha Plimpton in a Fancy Elevator),” “Lose Your Illusion 1,” “Alert the Audience!,” “Recovering the Opposable Thumb,” and “Are You There Margaret? It’s Me, God.”
The Lawrence Arms remains on the nice, albeit a bit cheeky, list. Lumps of coal need not be given to this trio.
American Steel, the only non-Chicago band this weekend, hails from Oakland, CA. Composed of Rory Henderson, Ryan Massey, John Peck, and Scott Healy, American Steel has been together since 1995. This event was special and brought back memories for the quartet, as Healy told me days after the show,
“The whole weekend was amazing. The Lawrence Arms are like our brothers. We did a 42-show tour where we shared a bus and probably knocked a few years off our lives. The weekend was similar. Many hugs, wives, and partners of bandmates getting to see each other after many years, dinners together, seeing so many old fans and friends. It’s why we still play shows.”
The band, presently on Fat Wreck Chords, gave a muscular performance, powering through a set that included “Emergency House Party,” “Dead and Gone,” “Shrapnel,” “Sons of Avarice,” “Mean Streak,” and “Maria.”
I very much look forward to documenting American Steel again, hopefully, sooner than later.
Still Alive played its second-to-last hometown show to kick off night 2 at Metro. After 15 years, the band’s final show is scheduled for Detroit.
The band’s blistering set included “Trials,” “I Quit,” “Make Melodies,” and “Ransom Note. Still Alive also performed a cover of The Killing Tree’s “Switchblade Architect.”
Post-show, Singer Dan Alfonsi reflected on what the weekend meant to the band,
“It was great sharing a stage with Lawrence Arms and American Steel. They were both great. All of us have been listening to Lawrence Arms and their family tree of bands since high school. We’d see a lot of those bands at Metro, so it was awesome being a part of the evening. Hearing them play “Nebraska” was a highlight for sure. Definitely a bucket list show for Still Alive, and it was an honor to play War on Xmas as one of our last shows.“
Alfonsi also told me why he and his bandmates, Mikey Cervenka, Dom Burdi, Ben Standage, and Bryan Schroth, are ready to close this chapter of their musical careers.
“We all play in other bands, and we’ll stay occupied with those. Dominick plays in Beat the Smart Kids, Mikey plays in Radar Waves …[Alfonsi plays in Flatfoot 56 and Cult Fiend]… Ben plays in Blood People and Whipped, and Bryan is a part of Chart Attack. We may or may not have another ska-related band in the works.“
Still Alive will be alive for two more shows: December 27, 2024 as headliner at Cobra Lounge in Chicago, and on December 28, 2024 at Detroit’s The Majestic for Black Christmas.
I have been watching and covering Still Alive for several years. Grateful to the band for the always good time.
The 10th Annual War on X-Mas was, again, a great early gift. Season’s greeting to all and to all, a thank you!
Warning: Old Man Yells at Cloud. Senses Fail and Saves the Day brought their “New Jersey Vs the World” tour to a sold-out crowd at the Anaheim House of Blues. With Senses Fail being one of my wife’s favorite bands and this show being close to her birthday, we went. I was not excited for […]
Warning: Old Man Yells at Cloud.
Senses Fail and Saves the Day brought their “New Jersey Vs the World” tour to a sold-out crowd at the Anaheim House of Blues. With Senses Fail being one of my wife’s favorite bands and this show being close to her birthday, we went. I was not excited for many reasons, but most of them logistical.
Since the venue moved to the Gardenwalk down the street from its previous home at Downtown Disney, the House of Blues has not been able to find a way to effectively set up the merch table. You have to make the choice: Do you miss getting a good spot or go after the show, waiting at least an extra hour or so to get the leftover merch scraps from the people who didn’t want a good spot? We chose to forego a good spot and get merch. Even with stanchions set up to create a condensed line and clear up traffic in the lobby, getting merch was still a cluster-fucking mess. I was unsure if it was the merch guy’s fault or the venue’s not setting the lines up properly, but my wife fixed it for them.
Once we got to the floor, a screen had been set up on the wall behind where the band’s gear had been set up. Playing ad nauseam was about a minute or so clip of Emo-ish American Apparel models showing off Senses Fail and Saves the Day’s merch, including a plush of the cutesy Grim Reaper that appears as Senses Fail’s mascot. Eventually, a QR code came up for you to scan to enter for a chance to win a trip to New Jersey with singers of both bands, Buddy Nielsen (Senses Fail) and Chris Conley (Saves the Day). Using a clichéd New Jersey image of James Gandolfini as Tony Soprano smoking a cigar inside his pool, the ad then flashes to restaurants and clips of the New Jersey Devils indicating what the prize will include.
Opening support for the “New Jersey vs. the World” tour came from the Houston, Texas, band Narrow Head. Narrow Head sounded like Filter if they were an emo band. While I liked the subtle influences from early emo bands in the music, I couldn’t tell where the first song ended and maybe the second and/or third began. While I’m not so out of touch that I’ve not heard bands do this, there is typically a clear distinction of where that moment is (e.g., the first two tracks off of Ozma’s Rock n Roll Part 3). While they played their instruments well, they sounded stereotypically 2000s emo. Emo, for Emo’s sake. Maybe I just don’t like this era of Emo in general. I didn’t get a lot of energy from this band, but I will take into consideration they were three to four days to the end of a four-month tour.
I don’t think I even know a handful of Saves the Day songs, and at least two of the ones I know are covers. Their set was mostly dominated by a play-through of their 1999 album, Through Being Cool. I have friends who revere this album, but I never saw the appeal. It’s probably one of those things I found too late. Singer Chris Conley is the sole remaining member of the band, and while he did compose the majority of the songs on the album, these anniversary concerts feel more organic when some of those other members are present. Given the list of former members found on Wikipedia, maybe that wasn’t possible, but I digress. As the lights went out, the band walked out to the overture from the movie “Dancer in the Dark,” which was composed by Björk. Conley, clad in a Fugazi shirt, came out and played with his band for a little over an hour. This was my first full listen of Through Being Cool and probably my last. After playing through the album, the band played random hits starting with “At Your Funeral,” but also included “Cars and Calories” before closing with “Nightingale.” I should end this paragraph with: everyone in the band played their instruments well.
Throughout Saves the Day’s set, a guy with huge sideburns stood and flipped them off for the majority of their set. A woman behind us didn’t take too kindly to that gesture and threw a cup of ice at him. After trying to find the guilty party, Sideburns went back to flipping off the band. Once Saves the Day’s set had ended, the woman went over and attacked the guy. The two were separated, with Sideburns going further into the crowd towards the front while the woman went towards the back of the venue. Before Senses Fail started, security came by looking for Sideburns, probably to escort him out. If only there was something unique to identify him. I’m still trying to figure out who was the bigger asshole.
Senses Fail walked out to the whistling sounds of the song “Twisted Nerve.” While it was originally a part of the soundtrack from the 1968 movie of the same name, our generation knows it from the hospital scene in Kill Bill: Volume 1. Buddy Nielsen and crew were there to celebrate their album Let It Enfold You. I was mostly in the same boat as with Saves the Day. I had heard covers that the band played and a few songs from in passing when my wife plays them, but I couldn’t tell you the name of a song without looking up the setlist. Out of the two full albums I heard that night, I enjoyed Let It Enfold You more, but will still probably only hear it in passing. Being down the street from both Disneyland and the Honda Center, home to the Anaheim Ducks, Buddy led the crowd in a chant of quacks halfway through their time on stage. Senses Fail put on a pretty good set. If I am being forced to see a band perform live, they would be fine. At the end of the set, Chris Conley came back out and covered the My Chemical Romance song “Helena,” to which the crowd went crazy, but we left partway through. When you hit your late thirties/early forties, no special closing song is going to outweigh the glory of beating venue traffic.
Overall, it could’ve been worse. I had no real attachment to either of the bands, and at the end of the work week, my tolerance for people in general is low. I’m also probably not the best judge of the popularity of either band, as they had added another show a few days later back at the Anaheim House of Blues. I’m sure if this was your thing, this was a treat.
On 30 November, The Black Cat in Washington, DC hosted Smash Records‘ 40th Anniversary with a killer show featuring bands from Des Demonas, The Goons, Lorelei, and NØ Man. Located in the Capital City’s Adams Morgan neighborhood, Smash Records opened its doors in 1984 selling records, clothing and everything in between. It’s still the place […]
On 30 November, The Black Cat in Washington, DC hosted Smash Records‘ 40th Anniversary with a killer show featuring bands from Des Demonas, The Goons, Lorelei, and NØ Man. Located in the Capital City’s Adams Morgan neighborhood, Smash Records opened its doors in 1984 selling records, clothing and everything in between. It’s still the place to go for punk to alternative music. The eclectic showcase kept the night entertaining.
Des Demonas, DC punk band with influences of post punk, funk, blues, Afro-beat, rock, and noise, celebrated the release of their newest album, Apocalyptic Boom! Boom! that was released on 29 November 2024. Des Demonas is comprised of Jacky “Cougar” Abok (vox/percussions), Mark Cisneros (guitar), Paul Vivari (organ/bass) and Matt Gatwood (drums). Be sure to find them here for future shows.
The Goons is a DC hardcore punk band that have played together since the 80’s and played a killer set which generated a circle pit in the middle of The Black Cat. It was great to see the band and the audience having a great time.
Lorelei is a DC indie post-rock trio band with Matt Dingee (guitar), Stephen Gardner (bass), and Davis White (drums). The band performed a blend of post rock and noise rock that was a great in respite after NØ Man show. Follow them here.
NØ Man is a four-piece DC female frontend hardcore punk band with a hint of screamo. The band started the night STRONG! The singer, Maha Shami has an incredible voice that could be heard throughout the venue, band members also included Matt Michel (guitar/vox), Pat Broderick (drums) and Kevin Lamiell (Bass).
The band has raised over $3K since September to help support charities like Gaza Soup Kitchen to help combat famine while providing healthcare and education in Palestine. Find out more about the charity here.
Tacoma, Washington punk trio Let Me Downs have teamed up with South Bay California’s Felony Records to release their new album North By Southwest. Due out January 23rd, the album was recorded at Razors Touch Studios in San Diego, CA with Chad Ruiz (Urethane, Skipjack, etc.) and mastered by Scott Hallquist (Ten Foot Pole, DC […]
Tacoma, Washington punk trio Let Me Downs have teamed up with South Bay California’s Felony Records to release their new album North By Southwest. Due out January 23rd, the album was recorded at Razors Touch Studios in San Diego, CA with Chad Ruiz (Urethane, Skipjack, etc.) and mastered by Scott Hallquist (Ten Foot Pole, DC Fallout).
We’re stoked to be exclusively premiering the music video for the album’s lead single “One More Round”. Check it out below! And after you do that, head over to the Felony Records Bandcamp to pre-order North By Southwest on vinyl, CD and/or digital.
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time.
“One More Round” was a concept the band and label molded into this final video. It was directed by Felony Ron McIntyre (Director of The Black Pacific – “I Think I’m Paranoid”, Pulley – “Repeat Offender” & Strike Twelve – “Not A Phase”) with Director of Photography Jacob Maltinsky. Chad Ruiz of Urethane and Skipjack plays the main character of the video, and he also produced North by Southwest. It was shot in El Segundo, CA at South Bay Customs which will host Let Me Downs’ LA album release show.
Catch Let Me Downs on tour in 2025! More dates TBA:
1/23- Pub Rock Live- Scottsdale, AZ w/ Mercy Music, Miles to Nowhere, The Ultramatics 1/24- Tower Bar- San Diego, CA w/Urethane, Miles to Nowhere, Punch Card 1/25- South Bay Customs- El Segundo, CA w/Implants, Miles to Nowhere, Empired 2/7- Twilight Cafe & Bar- Portland, OR w/Chaser, Ninjas with Syringes, The Brass 2/8- Funhouse- Seattle, WA w/Chaser, Head Honcho 3/21- Spur Bar- Star Valley, AZ – w/ It’s Fine, Vices To The Grave 3/22- Yucca Tap Room- Tempe, AZ w/Chaser, No Gimmick, It’s Fine
On 1 November, I had the privilege of hanging out with friends who took me to see City Mouse, Plaster, and Crimson Riot at the Red Dwarf. Located on the East Side of Las Vegas, the Red Dwarf is known for their Detroit-style pizzas and live music. If you find yourself in Vegas, this place […]
On 1 November, I had the privilege of hanging out with friends who took me to see City Mouse, Plaster, and Crimson Riot at the Red Dwarf. Located on the East Side of Las Vegas, the Red Dwarf is known for their Detroit-style pizzas and live music. If you find yourself in Vegas, this place is worth a visit!
City Mouse is a California-based pop punk band. The band’s energy on stage was and I was immediately drawn to Dee’s voice. It’s powerful and punchy and will resonate with you for days. Band members for this show included Miski Dee on vox and guitar, Jen Louie on bass, and Danny Michael on drums. Davey, guitarist, sat this show out due to hearth issues but is on the road to recovery. Find them here next.
Plaster is a Las Vegas punky indie rock band with members Aldred on vox and guitar, Eric on bass, Gabe on guitar, and Beau on drums. The band played a killer set and sounded great!
Plaster is preparing for the release of their self-titled, debut EP produced and mixed by Tim White of Sweet Morphine and Snowdonnas. Find them here.
Crimson Riot is a Vegas-based pop punk trio but played this set as a two-piece as they recently lost their drummer. The band’s set started out and finished strong with catchy tunes and and energetic stage presence. The band is Roxy Gunn on vox and guitar and Chris Reject on vox and bass. They’re currently looking for a new drummer. So, if you know anyone in the Vegas area who might be a good fit, let ’em know! Find them here next.
Feature Photo Credit: Jesse Pace The Effigies was one of the pioneering bands in the early Chicago punk scene. On December 20, 2024, the group will headline a show at Metro. The show will celebrate both the new The Effigies album, Burned, and John Kezdy, who passed away during recording. Kezdy died August 26, 2023, […]
The Effigies was one of the pioneering bands in the early Chicago punk scene. On December 20, 2024, the group will headline a show at Metro. The show will celebrate both the new The Effigies album, Burned, and John Kezdy, who passed away during recording. Kezdy died August 26, 2023, days after he was hit by a truck whilst bicycling in Glencoe, IL.
At the show, The Effigies will be supported by The Bollweevils, Ganser, and DJ Joe Shanahan, Metro’s founder/owner. It promises to be both exciting and poignant and will serve as an introduction to the band for many potential new fans.
Ahead of the show, I interviewed The Effigies bass player Paul Zamost. Geoff Sabin, who stepped in on vocals after the death of Kezdy, added his reflections as well.
Dying Scene: What prompted the 2022 return?
Paul Zamost (PZ): In retrospect, we just needed a nudge, I think we all felt we had unfinished business when it came to The Effigies. So during Covid, shortly after lockdown, I got a call from Steve Economou about recording “Guns or Ballots,” and “Everything’s Coming Off” as a side project which I agreed to because I was itching to play anything at the time. But of course, Steve had ulterior motives, and his plan to revive the band was launched, so me and Steve got together to jam and ended writing 4 songs and the ball was rolling.
What went into creating the music for Burned?
PZ:Enter guitarist Keith Shigeta. Keith is a friend of my oldest son Zachary (drums), and they had a metal band called Lost in Blue. They used to practice in my basement, so I was quite familiar with his abilities on guitar, so when the opportunity to have him for play on some recording sessions arrived, we seized on it, his writing and playing contributions to Burned are tremendous, but unfortunately, Keith couldn’t commit to playing shows and is working on his own projects, and hopefully we’ll hear more from him in the future.
Photo Credit: Jesse Pace
Was there any consideration not to continue with this after the loss of John Kezdy?
PZ: Not really, we needed to finish the project the only reluctance was that we had an enormous task ahead of us in doing so,enter Andy Gerber. Andy produced and played guitar on Burned and had taken over on lead guitar, and we had started rehearsing with plans to play shows, so we were already ready on that path, and in order to release Burned, we would need to do shows to help pay for it. Enter Geoff Sabin.
Geoff Sabin: It would be hard for anyone to take over for John – his message, delivery, and conviction in his songs put him in a place all his own. There was certainly hesitation and consideration, but ultimately, I embraced the chance to honor the legacy of The Effigies and make sure John’s words have a chance to be heard.
How did The Effigies come about (for those of a new generation now being introduced to the band)?
PZ:I met Steve and John at a new club called Neo in 1980, and we made plans to rehearse. And after a few sessions, we came up with a song later to be named “Security” with John on guitar, but John decided to switch to lead vocals, and we searched the summer for a guitarist. Enter Earl Letiecq. As soon as Earl plugged in, the search was over. The chemistry was awesome then, and in a matter of 2-3 weeks, we had written our first set, which most of us still play today. We made our debut at a club called OZ in Nov 1980. We recently found a VHS recording of that show, and after having it restored, we are set to debut it on Dec 20th at the Gman[next door to Metro] after the show.
Who were your inspirations for each of you when starting as a musician (whether with Effigies from the start or not)?
PZ: Yes, up til 80,81 punk bands were treated by local promoters as a novelty or a fad that will soon go away, but we helped change their opinion, and we were soon supporting national acts, i.e., The Plasmatics, X, and PIL were some of our first gigs. But the scene was built by many other contributors, most of who were not musicians, and they contributed with fanzines, DIY shows, being DJs and having college radio shows, club owners, but the biggest contribution for us was by Timothy R. Powell, who recorded our Haunted Town and We’re Da Machine E.P.s, and the “Body Bag” single. Those recordings put us on the map.
Was there any sense of legacy building to the Midwest punk/hardcore scene as you were making music and touring at the start?
PZ:Not at the time, especially when we made it out west, and their scene was 100 times bigger. But on the other hand, Kezdy writing, “We’ll be here tomorrow with what we said today,” I consider legendary.
When did you realize or first begin to hear people describing The Effigies as groundbreaking or pioneering?
PZ:Probably in the 90s, when we did a few reunion shows and released Remains Non-Viewable, writers would refer to us as pioneers and a seminal punk band.
Was that exciting to hear, or were there any mixed emotions or self-doubt about it?
PZ: For me, being in The Effigies has always been exciting, full of mixed emotions and self-doubt! But recognition and praise help ease the self-doubt some.
What was it like to start touring with some of the legendary bands in this genre? Any particular stories that stand out as good or bad, ones that make you laugh or groan looking back on them?
PZ: We more or less crossed paths with many now legendary bands but never toured with them, but touring back then was like being pioneers, ’76 Chevy van, no internet, no GPS, no cell phones, etc. Once every road trip, we had to put on a cassette of Jon Wayne’s Texas Funeral, which provided us many much-needed laughs during long drives …yep. The only thing I regret is all the pictures I didn’t take; you never think at the time that the singer from the opening band would be a huge star someday.
Do you have any particular view on why The Effigies have had such an impact on the Chicago scene and are considered legends yet never quite hit that mainstream level of fame?
PZ:Part of our impact is that we helped open doors for bands who, years later, when punk became more acceptable, were able to break into the mainstream. But if we had become mainstream, would we still be considered legends?
Was there ever any frustration or even bitterness watching other bands becoming more famous?
PZ:On the surface, a little bit, but for the ones we came up with, we felt happy for, and I also realize that fame does not equal happiness, and fame may have prevented me from finding happiness elsewhere.
Looking back, are there things you think might have been done better or in a different way that might have had an impact on this? Is that something you even spend time reflecting on?
PZ:We made plenty of mistakes over 4 decades, but you can never know what the outcome of a different decision would have made, so why dwell on it? We just keep moving forward. For me, playing these songs 45 years later is probably more gratifying than they would be had we had more earlier success.
Are there any younger bands in which you are reminded of The Effigies? In which you see yourselves reflected?
PZ:Until recently, we had not played since 2010, and our exposure to newer bands has been reduced significantly, but next year, we should be playing a lot more and seeing a lot of new bands.
Have you been approached by musicians or bands who cite being influenced by The Effigies, and what is that experience like?
PZ:It is always great to hear that when you don’t have the finances to quantify your success, hearing that you influenced others is priceless.
How does it feel to be able to introduce whole new generations of music fans to The Effigies?
PZ: Optimistic! The opportunity to reach listeners worldwide never existed like it does today, and we always felt we would have had greater success if more people knew of us and could find our music. And we have been silent for so long that our social media presence was non-existent, but it’s gaining steam, and a good thing is if new listeners find us from Burned, we have 5 more albums for them to discover.
The show on the 20th promises to be fairly emotional for you and for the fans. What are you looking forward to most about it?
PZ:The show is a crossroads for us, it marks the end of 1 era and the beginning of another. I’m looking forward to introducing Geoff to our fans, who I believe will be easily accepted and admired.
What do you want to convey about and do for John via the tribute?
PZ:Keep his words and our legacy alive.
Was there ever any other venue in consideration, or was Metro just such an obvious one?
PZ: Yes,Metro is where we to play and basically were started back when it was called Stages. Our second gig ever was there, opening for Black Flag. We have had lots of great memories there, and no other venue in Chicago has such a rich history.
I imagine, such as with Pegboy at Metro earlier this year, it will be a bit of a reunion of punk legends on stage and in the crowd. Are there people you expect to see again for the first time in a long while that may be particularly emotional?
PZ: I expect to see a lot of old friends and family as well hopefully, I can engage with them, but more importantly, I hope to see a whole lot of new faces.
Photo Credit by Thomas Economou
It has been a tough several years for the Chicago scene with the loss of not only John, but his brother Pierre Kezdy in 2020 and then Steve Albini earlier this year.
PZ:Yes, indeed, Pierre was one of my favorite people in the scene, his first band, Strike Under, debuted the week before us, and we played with them a lot back then. His loss was greatly felt by many in the Chicago scene and was another factor in The Effigies reuniting,
PZ: Steve Albini’s loss was felt worldwide. We, fortunately, had our 2-inch tapes baked and transferred at his studio 2 weeks before he passed. We had briefly discussed him remixing some of the early stuff. Steve was closest with John Kezdy and has always credited John and The Effigies as the reason he got started in music.
Steve Albini, left, with former Electrical Audio intern Nick Novak. Photo courtesy of Nick Novak
Last year, I spoke with Pegboy‘s Joe Haggerty about his time with John in the Effigies. Among his reflections, he had this to say:
“The coolest thing about punk rock is that I had this cool relationship with this fucking idol of the punk rock scene. I mean, not recognized by the rock and roll hall of fame, but who fucking cares.”
PZ:It’s cool that Joey got to fill in for a while, he got to play the now infamous Green Day show when they were starting out. Pegboy has always had a great relationship with The Effigies, and if all goes well, we may be playing with them in London next summer.
Any advice to musicians just starting out?
PZ: My advice to bass players is to never learn how to set up a drum kit! (rim shot) my advice to bands: I would say have fun because 99% of us won’t make it big. But the experiences you’ll have will make you rich. And never give up your dreams because some come true 45 years later.
Anything else you would you have Dying Scene readers to know about the band and the music, or you want to add about anything at all?
PZ:Thanks to all for writing about us and introducing us to new potential fans who we hope to see on Dec 20th, and for helping keep our dying scene ALIVE!
Burned was released in 2024: Per an official statement from the band:
“Cede The City” is taken from the forthcoming new album BURNED; lyrics in the song refer to the Highland Park shooting incident in July 2022 that original lead singer John Kezdy and his wife were involved in prior to his untimely passing.
In addition to the Chicago show, The Effigies is thus far scheduled to play shows at HQ in Denver, The Whisky A Go Go in West Hollywood, and in Blackpool, UK, at Rebellion Festival. Please check out the respective websites for further information on dates and tickets.
Thanks to Paul Zamost and Geoff Sabin. Dying Scene will see you at Metro.
Hailing from Rockford, Illinois and Madison, Wisconsin, The Rad Skulls have thrown down a gauntlet of a demo that has some of the catchiest songs I’ve heard this year. The hallmarks of melodic hardcore bands are alive and well on the four tracks presented to us. Let’s dig in. Opening track “Stories” jumps back and […]
Hailing from Rockford, Illinois and Madison, Wisconsin, The Rad Skulls have thrown down a gauntlet of a demo that has some of the catchiest songs I’ve heard this year. The hallmarks of melodic hardcore bands are alive and well on the four tracks presented to us. Let’s dig in.
Opening track “Stories” jumps back and forth between a fast beat and a slower tempo and trading screaming vocals for harmonized vocals when it does. Lead singer Joe’s vocals are a bit more raw in those harder moments, but there’s some reprieve in those softer moments and lyrics that seem to go through a roller coaster of emotions. There’s no real structure to the song which makes these changes unpredictable and exciting especially. Second song, “Loud as Shit,” works well as a short and fast palate cleanser before moderately paced third track, “6:05 GMT.” “6:05 GMT” and “Good Thing (Jingle Jazz)”‘s big group vocals give the song that extra push to make this great. The melodic riffs and vocals the Rad Skulls have brewed are well placed.
I would like to see the Rad Skulls live or hear more songs because with these four songs they just seem to be getting their footing. Their big guitar sound paired with the breakneck speed of the drums is very reminiscent of some of punk’s greatest bands of the 1990s. There’s a lot of ambition found here and these tracks seem to be heading in the right direction. As far as demos go, this is a great sample of a band I hope to hear more from in the future.
On 26 October 2024, the Pie Shop hosted a SOLD OUT pre-Halloween show featuring some of DC’s own punk legends (find out who below). This 17th Annual show featured Misfits Cover Band, Evilive and Ramones Cover Band, Huntingtons. The bands put on probably one of my favorite Halloween shows (ever) and I am looking forward […]
On 26 October 2024, the Pie Shop hosted a SOLD OUT pre-Halloween show featuring some of DC’s own punk legends (find out who below). This 17th Annual show featured Misfits Cover Band, Evilive andRamones Cover Band, Huntingtons. The bands put on probably one of my favorite Halloween shows (ever) and I am looking forward to next year! The crowd was packed and everyone participated in singing along to every song. It was epic!
Baltimore’s Ramones inspired punk band Huntingtons did not disappoint as they ripped through their set and everyone went wild. Band currently consist of Mike Holt (bass/lead vox), Cliff Powell (guitar/vox), Josh Blackly (guitar/vox), and Chris Elder (drums). Find them here next.
Misfits cover band, Evilive, headlined with a killer set from beginning to end. The lineup consist of mates: Tony Pee Pee (The Pee Circles) on vox, Jason Hamacher (Frodus/Zealot/Regents) on drums, Mike Schleibaum (Darkest Hour) on guitar, Tad Peyton on bass, and special guest John Christ (Danzig/Samhain) on guitar. The setlist ranged from Twist of Cain, Not of the World, Soul on Fire, Halloween and more.
You also missed Schleibaum atop the drum kick a few times flinging his locks while rockin out!
John Christ joining the band.
Evilive started off the night with Attitude, Horror Business, We Bite, Green Hell, London Dungeon, to name a few and ended with Bullet. The night was full of fantastic energy and a killer night.
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!
Check out the video edition of this week’s Record Radar, presented by Punk Rock Radar:
Batting leadoff this week is this bad ass new record from Swedish skate punks Rebuke! Things One Shouldn’t Have to Say is due out February 7th and is available to pre-order on two beautiful color variants: “Fizz Time Splatter” (100 copies) and “Dualist Sundae” (200 copies). Get it now from Punk Rock Radar or Double Helix Records in the states, Lockjaw Records in the UK, and Pee Records in Australia.
Also up for pre-order on the Punk Rock Radar webstore: Bri’ish Ramonescore band Random Heroes’ awesome new record FOUR! Limited to 100 copies on pink colored vinyl and a highly recommended pickup for fellow Screeching Weasel / Riverdales appreciators. Also available from Cats Claw Records in the UK. This record kicks ass!
Speaking of records that kick ass, Cigar’s Speed is Relative has been reissued by Fat Wreck Chords and is already on the brink of going out of print once again. I told you about the black vinyl repress that popped up on Amazon and elsewhere about a month ago, but Fat has since announced the reissue and made colored vinyl available to purchase. As always, they’re keeping a tight lip about variants, but I’ve seen two floating around: a clear w/ yellow and green splatter, and a clear w/ blue pinwheel kinda thing. FatWreck.com is sold out of colored vinyl but their Australian Artist First webstore still has some copies in stock and shipping to the states isn’t obscenely expensive!
Also on from Fat… a new 7″ from a band of children Fat Mike has taken under his wing. The Dollheads’ new single “Teenage Runaway” was written (and I believe produced) by Mr. Burkett. Get the 7″ here.
Our friends at Bloated Kat Records are releasing a 4-way split LP from Heavy Lag, Sekunderna (from Sweden!), Teenage Bigfoot and TV Cop. Pre-order the record on random colored vinyl(!) here and check out a track from each band below to see what you’re getting yourself into:
Our other friendly friends at Mom’s Basement Records have some bad ass shit going on and coming up soon, but what else is new? Up first, the debut album from Houston pop-punks The Lockdowns, out now and available on two bad ass color variants! Also available on black vinyl! And CD!Just buy the fuckin thing!
Coming soon from Mom’s Basement: the killer debut album from Brazilian bubblegum punks the Boogadas! Heartbeats and Heartbreaks is already streaming everywhere (get the digital download from their Bandcamp!) but Mom’s Basement will be releasing it on compact disc (otherwise known as a “CD” by those in the trade). Set a reminder to head over to their webstore and buy this awesome album this Friday, December 20th at noon eastern.
And last up in the “fellating Mom’s Basement Records” segment of this week’s Record Radar, I’d be remiss if I didn’t bring to your attention the awesome international releases they have available for pre-order in their distro at the moment. From Austria, it’s the Mugwumps with their new record Domino! From Brazil, it’s Flanders 72 with their record The TV Show! And from Germany, it’s the Kahuna Surfers with their new 7″ Forever! These are up for pre-order for a limited time only, so act fast.
Revelation Records is giving Glassjaw’s Don Fury Sessions its first official release, nearly 27 years after its original recording. Previously only available on 100 home made cassette tapes, these 1998 demos find new life on a yellow colored record which you can purchase here with money. It’s worth noting some material has been omitted from the vinyl release, the full demo is on YouTube though:
And wrapping up this week’s Record Radar – which by the way might very well be the last one of 2024! – we’ve got Manchester, UK skate punk newcomers BLAGGED with their debut EP Cortex Marks the Spot, out now on Rad Girlfriend and Brassneck Records! 5 tracks and they all kick fuckin ass. Get the 12″ EP on two color variants here (US) or here (UK).
Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!
Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!
As I power through the daily grind of being alive, every once in a while I find myself in a place that can only be described as an emotional lull. Waking up, getting ready for work, and dealing with crowded buses that are always late, I feel my life wasted at a job that barely […]
As I power through the daily grind of being alive, every once in a while I find myself in a place that can only be described as an emotional lull. Waking up, getting ready for work, and dealing with crowded buses that are always late, I feel my life wasted at a job that barely covers the bills. Then, I commute back home to prepare for the next day, repeating the cycle.
Throughout these periods of emotional drought, I have found that music becomes background noise—just something that fills the gaps between conversations at work. I forget the reason I enjoy it or was drawn into these subcultures and alternative scenes in the first place. In a way, this may be by design, as it is significantly easier to maintain the high levels of unrealistic hyper-efficiency that fuel a capitalist system when the average worker is too tired to feel anything other than the need to produce for fear of financial instability. At the same time, empty promises of happiness, love, and success are forced upon us by a constant barrage of advertisements and popular media—including mainstream music.
But where did all the rage, all the sadness, the loneliness, the joy, love, euphoria, and the sense of community and connection to something larger than us go? The answer is incredibly obvious and within reach. Sifting through the dullness of routine and pushing beyond it, music that comes from introspection, exploring our human condition instead of merely being a commodity to be sold, answers that question. It’s a matter of once again paying attention to the message, the delivery, and sharing those experiences with others.
Seeing the flyer for this show felt like a wake-up call, a short break from the bleakness, overloaded with emotions and a journey exploring a vast range of sounds, rhythms, and vocal deliveries. The entire show felt like an appropriate allegory for the human spirit when it’s not subdued by societal expectations to be quiet and reserved at all times.
Like an oasis in the middle of the desert, Soft Blue Shimmer started their set by creating an atmosphere that I would describe as almost ethereal. Meredith Ramond, with her beautiful and delicate voice, elevated the Bottom Lounge into a realm of tranquility. It was a mesmerizing combination of peacefulness and melancholia.
Soft Blue Shimmer’s sound is difficult to categorize into a specific genre. Not that it ultimately matters, but risking criticism from genre purists, I would describe it as a blend of shoegaze with elements of alternative or indie pop. The guitar riffs are very melodic and complement the dynamic changes well. To me, those musical shifts in tempo and volume, contrasted with the soothing and steady vocal delivery, were the highlight of their set and helped me connect with their music and the tone they set.
One thing worth noting is that, although their lyrics are not overtly political, they performed with signs—one that said “ACAB” and another supporting Free Palestine.
As their set neared its end, I felt it was time to return to reality from the place the band had transported us to—and realized I could have stayed there listening to them for hours.
Had I not been familiar with the next band, Portrayal of Guilt, before the show, the musical whiplash from the previous band to this one would have sent me right to the hospital. The Texas trio took us to the opposite end of the spectrum. With a chaotic blend of black metal, hardcore, and punk, they created a dark ambiance driven by heavily distorted guitars and guttural screams, with misanthropic lyrics.
Their performance was the least dynamic of the evening in terms of physical movement, but they made up for it with the intensity of their music. The bass, in combination with the drums, drove the foundation of the music, preventing the musical tension they created from resolving, while a barrage of oppressive riffs filled the room with dissonant chords.
At this point, the tone of the show was the complete opposite of the first band’s, and the dark melodies—if they can even be called melodies—painted a picture of solitude, grief, blasphemy, and despair, which the audience related to as catharsis.
Portrayal of Guilt’s music draws heavily from several genres, which makes it somewhat difficult to categorize under a specific style. That said, they take some of the best elements and make them work: the speed of punk, hardcore breakdowns for the spin-kickers, and the typical blast beats, dissonant riffs, and high-pitched gutturals of black metal. It’s the perfect amalgamation of these genres.
For the third act of the evening, Soul Glo took the stage. This band embodies chaos. Unpredictable and energetic, they brought a completely different energy to the show. Their music is fast, raw, and confrontational—pure irreverence.
Unconstrained by the stage’s boundaries, the band’s vocalist, Pierce Jordan, turned the entire venue into an extension of the stage. At one point, showing complete disregard for the venue’s barriers, Jordan jumped over and immersed himself in the audience while security ran around, trying to predict what he would do next. His vocal delivery consists of high-pitched screaming, intentionally amelodic, alternating between his regular singing voice and aggressive, at times chilling, screams.
Musically speaking, Soul Glo also draws from several genres. Their music is straight-up hardcore punk, and I doubt anyone would argue with that label, but they push boundaries with hip-hop elements and even incorporate funk and soul elements, along with audio samples throughout.
Their performance and lyrics are politically charged; they vocally supported the Palestinian struggle, and their songs reflect these values. What I found particularly interesting, as I analyzed the emotional range of each band individually and throughout the show, is that Soul Glo and Portrayal of Guilt are two sides of the same coin. Soul Glo expresses anger born from frustration—with the system, ourselves, and others—evident in their rebellious and confrontational attitude, while Portrayal of Guilt comes from a place of pain and despair. Both are equally valid and represent different aspects of how we experience the world. Their ferocity and attitude were contagious.
As the show neared its end, the crowd’s energy was revitalized as Jeremy Bolm, lead singer of the evening’s headliners, Touché Amoré, joined the rest of the band on stage. They began their set, and it was evident how much of an impact this band had on the crowd. Smiles lit up the venue as fans gazed with unwavering fixation, following every move Jeremy made, engrossed by the music and lyrics of the songs.
The relationship between the crowd and performers was mutual as Jeremy performed the deeply personal and emotional lyrics with a constant smile throughout the show. It felt like the physical barrier in front of the stage formed a metaphysical mirror, allowing the crowd and band to reflect their shared connection.
For more than a decade and a half, Touché Amoré has been delivering their signature emotional post-hardcore with some of the most honest and personal lyrics. It’s easy to feel spoken to, and I believe this happens due to the vocal delivery, which is more screamed spoken-word than straight-up singing, contrasting with the highly melodic riffs. Every song is a heart-wrenching confession, spoken in words that most of us can’t find.
The performance included a variety of songs from their entire repertoire, including some new tracks. Most people knew the lyrics, and those not moshing sang along throughout the show.
Touché Amoré did an incredible job of bringing the crowd back from this journey. It was a cathartic experience, allowing everyone to participate in an emotional experience.
Still wearing the biggest smile in the room, Jeremy and the rest of the band said their goodbyes, and as the final chords of their set echoed through the venue, there was a lingering sense of connection—an emotional bond that transcended the music—before returning to the monotony of daily life.
This article’s photos are a collaboration effort with @Maximilian_Pegasus who kindly provided the images of Touché Amoré featured in this article.
Check out the rest of the photos of this amazing show below!
